So simple yet so effective. I've felt stuck in position one because it's so easy to comprehend. I tried learning the other positions through rote memorization, but it just never stuck. Having the same simple musical lick be the guide into each new position is just plain brilliant. Can't wait to try this.
Very cool Chris..! Just like all of your tutorials this one brings me closer to my relationship with the fretboard… and isn’t that just what we’re all looking for..? Thanks Boss..! See ya in the Studio…👀🙏🏻❤️
Another great video, great exercise to build muscle memory. Also really enjoying the environment in the studio “ so much support from fellow note chasers “. Thanks for all you do Chris👍😎👍
Hi Chris, Love the content in this video, making guitar easy to understand is the way to go, l will be tuned in for more good ideas, just learning to improvise, this lesson I can see will be a great help for me, All the best, Howard 👍
I like the technique of "anchoring" a particular lick/pattern in all five positions. I have struggled all my life with playing fluidly up and down the neck vs across.This is so helpful. Thanks again, Chris1
@@pipastring9331 a new perspective is always a great thing to discover. Those types of insights can help to build real understanding. I’m glad you found this useful
You explain things so well Chris, I actually already had this down technically but I find the way in which you explain the system of the guitars patterns can bring new things to light, I try not to let things that are further back in the past be less than important to me than things now, as is sometimes the habit of our brains I think so I'm always open to go back certain ideas and concepts, it's excellent revision if anything!
Another great lesson in under 15 minutes. Just a note that the “equator” is so important that it’s the reason why standard tuning has major third exception. In the “connected positions” it’s also surprising how easy it is to tickle the major third incidental on the minor pentatonic as well as the flat fifth blues note. Man I’ve wasted a lot of time going up and down those pentatonic boxes. Your lesson hopefully saves others from the same waste.
Great lesson. I've been practicing when I can. I just need to learn how to let the chords breath so I can get a "riff" or a little picking to accent what I'm playing.
Indeed you do! Marty gifted a set of his pedals to me a while back. I use the looper as well. I pulled the drive pedal recently due to space and another drive pedal I'm currently loving (The Nobels), but yeah, that's his pedal there!
CHRIS, David Gilmour often will resolve on the 5th chord tone which gives it a darker tonality, I'm guessing this is called a pentatonic inversion when resolving on the 5th chord tone instead of the root. What I'm saying is you play pentatonic positions resolving on the 5th chord tone instead of the root. I'm guessing this would be called pentatonic 2nd inversions?
@@kashakasmith3893 I think its called pentatonic inversions when you resolve on the 3rd or 5th instead of the root note. Clapton Cream era should also often resolve on the 5th to get that eerie dark tonality.
Full disclosure; Didn't like this guy at first but this is an incredibly valuable lesson to help you be able to find scales/phrases/notes IN SPACE. During a chord progression or solo, you don't have the ability to go "Okay, now I'm in THIS shape..." Great lesson. He's also got one where he shows how to play notes or riffs between chords. And in that lesson, unlike a lot of them he doesn't introduce a progression that has NINE FU%^KING chords. Just a couple. Super valuable...
Loved the lesson as always, Chris! Have you ever done a pentatonic lesson on accenting the major thirds in a 1-4-5 and through the changes? I’m just scratching the surface on it so I’m still pretty much lost 🤷♂️
When you chase the major thirds on a I IV V you need to change scales for each chord, but you can easily just add/replace those notes to the pentatonic scale as the chords change.
@@curiousguitarist I think I understand that. But, isn’t it generally speaking more musical when a player either changes the scale or arpeggios with the movement of the chords?
@@mattprince9204 absolutely, that’s actually what I was trying to convey…but I’m a bit tired tonight. Outlining the thirds is always a winner, but that one scale can’t do it all. That’s what I was trying to say :)
@@curiousguitarist Thanks Bro! I’m criticizing your lesson just trying to figure out this crazy ass instrument. Your lessons are always super tight and enlightening, Dude. Thanks again 🎸👌
I'd like to see some lessons about using a Looper (I have a Boss RC-5) to create jam tracks and how to play along with them. I'm almost ready to join, but I need to see the Sheet music in white on black since I have low vision. Thanks.
All the TABs I do are black on white. I'll see if there's an easy way to convert them. But I'd probably have to do it a-la-carte as I have hundreds of TABs done at this point. I'll look into a looper video...I do not use my looper very often so I'm not qualified to do anything in depth.
You are so welcome! If you're new to this, do try to incorporate the root of the scale as the start at least, that makes finding the riff a bit easier.
One of the best ways is to map out a single octave of the scale, and then start that same shape from every root note you can find. You'll have to be able to find all the root notes, and stay awake to managing the impact of the B string's tuning as you move the shape across string sets. You've GOT this!!
That is a K-line Springfield, and it is the best Strat-type I’ve ever owned, and I currently also own two Fender custom shop strats as well. The K-line really tops them all
Great lesson! My brain works better with a recognizable melodic phrase and less cognitive overload; even just moving the 5 pentatonic shapes around for other keys throws me way off. BTW, are you the guy who narrates the Ken Burns documentaries? ;-)
But wait, there's one more! The A on the 19th fret of the D string has the same pitch starting point, so you can use the OTHER half (strings 4,5,6) of box 1 to wrap it up full circle.
The Equator = Dom7sus2sus4 chord? This chord is often used in classic rock when lifting off your ring finger & pinky finger just only playing the equator chord.
@@curiousguitarist I see these Equator chords used often in classic 70s rock and early 80s rock. If you barre at the 5th fret as the Equator using A as the Root note the Equator chord is ADGCE 1-4-b7-b3-5 so its a minor7sus4 chord. If you barre at the 5th fret as the Equator using D as the Root note the Equator chord is DGCEA 1-4-b7-2-5 so its sus2sus4b7 chord?
@@waynegram8907 With the 7 in there, this would be called a Min11. You can't really have the 3 and a suspension at the same time. The function of "suspension" is to REPLACE the third. Hope that helps
I just found your channel and this lesson, love it. I have a dumb question. The scale lives in the open through 4th frets but know one uses that. Is that because of the open strings? Why isn’t it considered 6th position? Is first position of any scale the one with the root on the 6th string? If you don’t want to answer this I completely understand I’ll go Google but I enjoy your teaching style.
Hey Jason! The word "position" here really just references the next "inversion" of the scale's notes on a different set of frets. For this scale specifically (the minor pentatonic) that initial "shape" or "instance" of the scale (with the root on the 6th string) is commonly referred to as the first "shape" or "position" or "box". The scale inversion shown at 5:20 is the same as the one that would be in the "open" position (0-4th frets), and so yes, you can use that one as well. Just completing this exercise will help you see the scale a bit more clearly, no matter where you are on the neck. I hope that helps. Please re-ask if I missed the mark here!
@ thank you so much I see now the position that is the same shape as the open so it redundant. And yes I’m going to be practicing this and your other lesson about which finger the scale starts on this is very intuitive and makes so much sense. Thank you again.
This is a great lesson, because it teaches you to play the notes, and not just the frets/patterns.
Right on, glad you enjoyed this one, Mike!
@@curiousguitaristI enjoy them all, Chris. Best lessons I’ve used in decades of playing.
@@mike5177 that means a lot to me, thanks.
This channel and Fret Science are such wonderful resources. Thank you!
the fret science channel
is a bomb :)))
So simple yet so effective. I've felt stuck in position one because it's so easy to comprehend. I tried learning the other positions through rote memorization, but it just never stuck. Having the same simple musical lick be the guide into each new position is just plain brilliant. Can't wait to try this.
Take your time with this...the amount of gold in here is insane, but it takes a bit to harvest! Keep me posted!
Wow, a teacher that really teaches….. A++
@@willabestorms6059 thanks so much! Glad I made the grade, and happy to have helped.
Very cool Chris..! Just like all of your tutorials this one brings me closer to my relationship with the fretboard… and isn’t that just what we’re all looking for..? Thanks Boss..! See ya in the Studio…👀🙏🏻❤️
Another great video, great exercise to build muscle memory. Also really enjoying the environment in the studio “ so much support from fellow note chasers “. Thanks for all you do Chris👍😎👍
Glad you enjoyed it, thanks for all your support Bubba~
Hi Chris,
Love the content in this video, making guitar easy to understand is the way to go, l will be tuned in for more good ideas, just learning to improvise, this lesson I can see will be a great help for me,
All the best,
Howard 👍
So glad this one landed well for you! Thanks Howard.
I like the technique of "anchoring" a particular lick/pattern in all five positions. I have struggled all my life with playing fluidly up and down the neck vs across.This is so helpful. Thanks again, Chris1
You bet! And this concept works for chords too...any scale, any phrase...it'll always get you finding new stuff.
Another great lesson. I need to do this more!
Ha! we all do right?
Thanks Tim, for everything!
A very useful lesson. For me it was like coming to a familiar landmark but from a new and hitherto unused road. Many thanks!
@@pipastring9331 a new perspective is always a great thing to discover. Those types of insights can help to build real understanding. I’m glad you found this useful
The idea of "tagging" different positions in terms of the same lick is an excellent idea. Thanks
Of course! This idea is a great vehicle for attaining fretboard knowledge.
Powerful stuff as always. Thanks Chris
You explain things so well Chris, I actually already had this down technically but I find the way in which you explain the system of the guitars patterns can bring new things to light, I try not to let things that are further back in the past be less than important to me than things now, as is sometimes the habit of our brains I think so I'm always open to go back certain ideas and concepts, it's excellent revision if anything!
That’s great to hear, thanks for the comment, Jimbob, and I’m so glad you’re enjoying the channel
Love this Chris!! Mahalo!!
Thanks Chris! 😊
This Is a lesson that shows that Cris Is a real AND awesome teacher
Thanks, Andy! I appreciate that.
Great lessons. Thank you Sir
Of course, glad you enjoyed this one.
Great lesson!
Glad you enjoyed it!
Im very comfortable flying through all pentatonic positions but I am definitely going to try this.
Thanks
Another great lesson in under 15 minutes. Just a note that the “equator” is so important that it’s the reason why standard tuning has major third exception. In the “connected positions” it’s also surprising how easy it is to tickle the major third incidental on the minor pentatonic as well as the flat fifth blues note. Man I’ve wasted a lot of time going up and down those pentatonic boxes. Your lesson hopefully saves others from the same waste.
I enjoyed it all...the 5 positions were a bit of a slog, but that set me up really well to do this type of thing on top too.
Thanks for the comment!
thanks for this lesson
Great lesson. I've been practicing when I can. I just need to learn how to let the chords breath so I can get a "riff" or a little picking to accent what I'm playing.
Super!Thanks!
Cool. I like the bend and the vibrato on the last two strings of each pentatonic. Show us some blues licks at each of the positions. Thanks.
Great suggestion!
Great video, thanks and helpful. I think i can see a Marty Swartz, swartzinator pedal in the background.
Indeed you do! Marty gifted a set of his pedals to me a while back. I use the looper as well.
I pulled the drive pedal recently due to space and another drive pedal I'm currently loving (The Nobels), but yeah, that's his pedal there!
CHRIS, David Gilmour often will resolve on the 5th chord tone which gives it a darker tonality, I'm guessing this is called a pentatonic inversion when resolving on the 5th chord tone instead of the root. What I'm saying is you play pentatonic positions resolving on the 5th chord tone instead of the root. I'm guessing this would be called pentatonic 2nd inversions?
Great idea I'll try that now
@@kashakasmith3893 I think its called pentatonic inversions when you resolve on the 3rd or 5th instead of the root note. Clapton Cream era should also often resolve on the 5th to get that eerie dark tonality.
Full disclosure; Didn't like this guy at first but this is an incredibly valuable lesson to help you be able to find scales/phrases/notes IN SPACE. During a chord progression or solo, you don't have the ability to go "Okay, now I'm in THIS shape..." Great lesson. He's also got one where he shows how to play notes or riffs between chords. And in that lesson, unlike a lot of them he doesn't introduce a progression that has NINE FU%^KING chords. Just a couple. Super valuable...
@@462rob glad you enjoyed this one, Rob! I appreciate you taking the time to comment.
Just sitting here enjoying a day off and getting more tracking excercises in!
Loved the lesson as always, Chris! Have you ever done a pentatonic lesson on accenting the major thirds in a 1-4-5 and through the changes? I’m just scratching the surface on it so I’m still pretty much lost 🤷♂️
When you chase the major thirds on a I IV V you need to change scales for each chord, but you can easily just add/replace those notes to the pentatonic scale as the chords change.
@@curiousguitarist I think I understand that. But, isn’t it generally speaking more musical when a player either changes the scale or arpeggios with the movement of the chords?
@@mattprince9204 absolutely, that’s actually what I was trying to convey…but I’m a bit tired tonight. Outlining the thirds is always a winner, but that one scale can’t do it all. That’s what I was trying to say :)
@@curiousguitarist Thanks Bro! I’m criticizing your lesson just trying to figure out this crazy ass instrument. Your lessons are always super tight and enlightening, Dude. Thanks again 🎸👌
@@mattprince9204 of course!
I'd like to see some lessons about using a Looper (I have a Boss RC-5) to create jam tracks and how to play along with them. I'm almost ready to join, but I need to see the Sheet music in white on black since I have low vision. Thanks.
All the TABs I do are black on white. I'll see if there's an easy way to convert them. But I'd probably have to do it a-la-carte as I have hundreds of TABs done at this point.
I'll look into a looper video...I do not use my looper very often so I'm not qualified to do anything in depth.
Blue..tiful. Thanks 🎉 so much.
You’re welcome 😊
Yup. That works. Also you can just make up whatever lick you want using the same ideas. A bend a slide a hammer on a vibrato. Thanks fellow
You are so welcome!
If you're new to this, do try to incorporate the root of the scale as the start at least, that makes finding the riff a bit easier.
Thank you. Still trying to break out the box and connect them all.
One of the best ways is to map out a single octave of the scale, and then start that same shape from every root note you can find. You'll have to be able to find all the root notes, and stay awake to managing the impact of the B string's tuning as you move the shape across string sets.
You've GOT this!!
@@curiousguitarist Thank you for taking the time to give me advice.
Big light bulb moment ! Thanks
My pleasure, that's the best comment for me to read! Keeps me motivated.
Would you suggest practicing this exercise in one key for a while then moving it to other keys?
Yup, that's perfect. Get it solid then move it to all 12 keys.
Thanks for replying back 😊
friend
What guitar are you using in the video?
greetings from Guatemala
That is a K-line Springfield, and it is the best Strat-type I’ve ever owned, and I currently also own two Fender custom shop strats as well. The K-line really tops them all
@@curiousguitarist Dude it's a great guitar
Thanks for the information
Another of those little facts i never even knew about.
This one really had a huge impact on my soloing capability.
8:46 - Why on earth do I keep thinking of Credence Clearwater Revival’s “Run Through The Jungle” when you repeat that pentatonic phrase?
That's basically the same phrase :)
Nice catch!
In the first phrase method you have to know the location of root notes on each string, correct?
Yup! Correct!
What does the 21 sticker represent on your red guitar
www.pinterest.com/pin/395402042276804904/
Very cool
Great lesson! My brain works better with a recognizable melodic phrase and less cognitive overload; even just moving the 5 pentatonic shapes around for other keys throws me way off.
BTW, are you the guy who narrates the Ken Burns documentaries? ;-)
@@ezwriter228 I am not that narrator:)
Keeping your ear engaged helps a lot, sounds like you’re making great progress
@@curiousguitarist Peter Coyote! Seriously, I'm really getting a lot out of your lessons. (And the voice ain't half-bad 😎)
Im just beginning will this help me?
Everything has the potential to be helpful :)
If you're JUST starting out, work on the open chords CAGE and D, and learn the pentatonic scale
@curiousguitarist ok I got that down
But wait, there's one more! The A on the 19th fret of the D string has the same pitch starting point, so you can use the OTHER half (strings 4,5,6) of box 1 to wrap it up full circle.
Bam! Truth!!!
The Equator = Dom7sus2sus4 chord? This chord is often used in classic rock when lifting off your ring finger & pinky finger just only playing the equator chord.
That chord would contain the minor third
@@curiousguitarist I see these Equator chords used often in classic 70s rock and early 80s rock. If you barre at the 5th fret as the Equator using A as the Root note the Equator chord is ADGCE 1-4-b7-b3-5 so its a minor7sus4 chord. If you barre at the 5th fret as the Equator using D as the Root note the Equator chord is DGCEA 1-4-b7-2-5 so its sus2sus4b7 chord?
@@waynegram8907 if you barre it with the E string root it will always be the same… R 4 b7 b3 5 R
@@curiousguitarist yes which is Minor7sus4 chord?
@@waynegram8907 With the 7 in there, this would be called a Min11. You can't really have the 3 and a suspension at the same time. The function of "suspension" is to REPLACE the third.
Hope that helps
I’m gonna bust hard through these pentatonic scales
I just found your channel and this lesson, love it. I have a dumb question. The scale lives in the open through 4th frets but know one uses that. Is that because of the open strings? Why isn’t it considered 6th position? Is first position of any scale the one with the root on the 6th string? If you don’t want to answer this I completely understand I’ll go Google but I enjoy your teaching style.
Hey Jason!
The word "position" here really just references the next "inversion" of the scale's notes on a different set of frets. For this scale specifically (the minor pentatonic) that initial "shape" or "instance" of the scale (with the root on the 6th string) is commonly referred to as the first "shape" or "position" or "box".
The scale inversion shown at 5:20 is the same as the one that would be in the "open" position (0-4th frets), and so yes, you can use that one as well.
Just completing this exercise will help you see the scale a bit more clearly, no matter where you are on the neck.
I hope that helps. Please re-ask if I missed the mark here!
@ thank you so much I see now the position that is the same shape as the open so it redundant. And yes I’m going to be practicing this and your other lesson about which finger the scale starts on this is very intuitive and makes so much sense. Thank you again.
@ you are so welcome!